HQ Review: Saint Louis Ballet presents Take Five…More or Less
Red, orange, blue, and purple leap out onto stage as Henri Matisse-inspired costumes paint their way into live performance danced by Saint Louis Ballet. On October 11th and 12th, Saint Louis Ballet debuted Take Five…More or Less, a captivating show featuring three unique works by both guest artists and faculty.
The first number, Divertimento No. 15, is a classic Balanchine piece first choreographed in 1952 and staged today by Darla Hoover. Elegant bows adorned pastel yellow and blue tutus as the dancers waltzed onto stage. The piece first begins with the corps de ballet moving through the stage as one, save for canons where the corps went through choreography in staggered waves. Six different dancers execute powerful duets and solos, with footwork so intricate one blink meant a missed move. Each dancer moves with grace and precision, staying right on count with the swift pace of Mozart’s score. While the piece might not have a narrative storyline it celebrates the music, considered by Balanchine to be “the finest divertimento ever written,” with lively choreography drawing the audience's eyes in all directions across the stage.
The second piece, Take Five…More or Less, choreographed by Tony award-winning Susan Stroman, moves away from a classical ballet approach and instead plays with the rhythm and music of jazz composed by the great Dave Brubeck. Before the piece began, Stroman took a moment to explain her inspiration behind the choreography, stating that she grew up in a household full of musicians. “We always had jazz on, given my brother and dad were both talented pianists.” Growing up surrounded by music like Take Five…More or Less, there was a sense of nostalgia that served as the ultimate inspiration behind this bright and melodic piece. The scene initially begins with a lone dancer sitting impatiently in the center of the stage. She has been told to take a five-minute break, but if there is one thing dancers can’t do, it’s rest. There is always choreography and counts to go over with the meaning of rest lost in a whirl of movement. Fashioned in a bright yellow mini dress, she begins to mark through choreography and eventually breaks out into full steps as her partner enters the stage.
Different dancers, each in a unique vibrant color, playfully dart across the stage both solo and partnered. Intricate lifts lead the dancers into the air, teasing the audience and their partners with sly grins. The mix of captivating colors and the blend between jazz music and ballet captures the harmonious mixture of different art forms in one viewing. Stroman’s love for different facets of art is visible in this beautifully executed piece.
The final piece of the show was another Balanchine piece, The Four Temperaments, this time staged by Victoria Simon. Commissioned in the 1940s for Paul Hindemith, the piece explores four different humors that humans are made up of based on ancient Greek philosophy. Consisting of both physical and psychological humors, we are said to be melancholic, sanguinic, phlegmatic, and choleric. While the piece doesn’t specifically act out each humor, both the movements and music express different qualities that the audience can connect back to a specific emotion. All of the dancers are dressed in simple black leotards with a thin belt surrounding the waist as if they are a blank slate. This leaves it up to the audience to decipher which humor is which. Innovative shapes, flexed feet and hands, all make for abstracted choreography different from standard classical ballet. For instance, the humor choleric, which is regarded as fiery and powerful, was evident in the fourth variation. Quick leaps and sharp pique arabesques showcased the immense strength of the dancer, moving away from a more elegant and reserved style of ballet. Additionally, the lack of overall plot in the choreography ties back to the first Balanchine piece done. It achieves the sole celebration of human desires and emotions, using dance as the means of delivery. Without a clear storyline, we are able to make room for greater appreciation of true artistic talent and unique approaches to moving throughout the spaces around us.
Together, these three pieces combined both classical and contemporary takes on ballet. Saint Louis Ballet’s ability to master a wide discipline of choreography ranging from classical music all the way to jazz is evident in their stellar technique and cohesive movements as a company. The dancers’ dedication to embodying the music and meaning of each and every piece shined through to the audience in every corner of the three-tier theater. Standing ovations and shouts of praise reverberated throughout the aisles as the dancers took their final bow. Saint Louis Ballet’s ability to bring art, music, and dance to life in one performance should not go overlooked for any of their future works.
Photos by Pratt + Kreidich